The Four Tops Reach Out I'll Be There - YouTube The Four Tops Reach Out I'll Be There Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Nov 5, 2013 Category Four Tops - Reach Out, I'll Be There - 1964 - Music Videos,Lyrics Four Tops - Reach Out, I'll Be There - 1964 Lyrics Help preserve America's Music Tradition and suggest your lyrics here. Four Tops - Reach Out, I'll Be There - 1964 Playlist: Pause Some trivia about Four Tops - Reach Out, I'll Be There - 1964 "Reach Out I'll Be There" (also formatted as "Reach Out (I'll Be There)") is a 1966 hit song recorded by the Four Tops for the Motown label.

Written and produced by Motown's main production team Holland-Dozier-Holland, the song is one of the most well-known Motown tunes of the 1960s and is today considered The Tops' signature song. It was the number one song on the R&B charts for two weeks, and on the Billboard Hot 100 for two weeks, from September 24, 1966 to October 15. It replaced "Cherish" by The Association, and was itself replaced by "96 Tears" by Question Mark & the Mysterians. Rolling Stone later ranked this version #206 on their list of the 500 Greatest Songs of All Time. This version is also currently ranked as the 36th best song of all time, as well as the #3 song of 1966, in an aggregation of critics' lists at acclaimed music.net. [1] Play time: 2:54 FACEBOOK - CLICK HERE to see our top picks of the day on our music group on Facebook!

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To stop playing from your playlist and to play all of our songs, just click on 'Play All Songs' button Status When completed, click on either Play Your Playlist or Play All Music Videos Four Tops Song Tracks Four Tops - Baby I Need Your Loving - 1965 [2:42] - Baby I Need Your Loving is a 1964 hit single Four Tops - Bernadette - 1965 [3:00] - Bernadette is a 1967 hit song recorded by The Four Tops Four Tops - Standing In The Shadows Of Love - 1967 [2:33] - August 1966 brought the release of FAQ: Salestron Eclectic Video Jukebox Playlist Hit F11 key to full screen this site. Our Oldies Music ♫ Nostalgia Cloud is designed to allow you to sit back, listen, and watch free and legal music videos as we automatically shuffle, select and play old favorites such as "Four Tops - Reach Out, I'll Be There - 1964" from our eclectic streaming video radio station jukebox playlist! Listen to the best songs from 1910s to the present!

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Our Free Music Videos Jukebox is dedicated to sharing our treasured eclectic oldies music song playlist to keep the spirit alive of a bygone era when the country side was green and the music was golden in the twenties, thirties, fourties, fifties, sixties, seventies, eighties, nineties...a memorable musical tour of the past decades rich in chords and song. Suggest Your Song , lyrics or trivia to download into our Jukebox. Maybe you have a song or band to promote? Clare Teal - Reach Out (I'll Be There) Clare Teal Clare Teal - Reach Out (I'll Be There) Clare Teal - Reach Out (I'll Be There) Share: From '' Reach Out, I'll Be There / Day Tripper '' Label: Musicor Records -- MU 1227 Format: Vinyl, 7", 45 RPM, Single Country: US A Reach Out, I'll Be There B Day Tripper Producer -- Johnny Brantley ------------------------ Reach Out I'll Be There" (also formatted as "Reach Out (I'll Be There)") is a 1966 hit song recorded by the Four Tops for the Motown label.

Written and produced by Motown's main production team Holland--Dozier--Holland, the song is one of the most well-known Motown tunes of the 1960s and is today considered The Tops' signature song. It was the number one song on the R&B charts for two weeks, and on the Billboard Hot 100 for two weeks, from September 24, 1966 to October 15. It replaced "Cherish" by The Association, and was itself replaced by "96 Tears" by Question Mark & the Mysterians. Rolling Stone later ranked this version #206 on their list of The 500 Greatest Songs of All Time. The track also reached #1 in the UK Singles Chart, becoming Motown's second UK chart-topper after The Supremes hit #1 with "Baby Love" in late 1964. The song is featured prominently in the final scene and the closing credits of the 1975 motion picture Cooley High, a coming-of-age film starring Glynn Turman and Lawrence Hilton-Jacobs. PWL remixed the song in 1988.

The remix was done by Phil Harding & Ian Curnow. The 12" Remix runs 6:05 and the Radio Edit runs 3:10. Covers Only weeks after the original release, Jamaican soul singer Derrick Harriott recorded and released a version of this pop soul hit on his own Crystal label in Kingston, Jamaica (reissued on Gaz Mayall's Top Ska Tunes, Trojan 2004). Petula Clark recorded a version for her 1967 album Colour My World. Gene Pierson released a version in 1970 (Single, Festival) Merrilee Rush recorded a psychedelic version of the song in 1968. Titled simply "Reach Out", the single on the AGP label only made it to #79 on Billboard's Hot 100 in December, 1968. There were three Italian language versions, made by local artists Peppino Di Capri and Rita Pavone, and - most of all - by the same Four Tops, with the title Gira gira ( Turn around, turn around).

Diana Ross scored a Top 40 remake of the Four Tops' classic taking it to number twenty-nine on the Hot 100 in 1971. It was the second release from Ross' third solo album, Surrender, in just a year. Ross' version was produced by Nickolas Ashford & Valerie Simpson, and was built around the same thematic basis that made Ross' 1970 remake of Marvin Gaye & Tammi Terrell's "Ain't No Mountain High Enough" a success. Gloria Gaynor performed a disco version in 1975. Claude François recorded a version in French that was titled "J'attendrai" ("I'll Be Waiting"). The song has no relation to the 1939 French song also named "J'attendrai". Famed drummer/producer/singer Narada Michael Walden performed a version of the tune on his 1983 album Looking at You, Looking at Me, and it became a moderate R&B hit. Punk rock band Snuff released a version of the song on their covers album Flibbidydibbidydob.

Elton John's 1989 single "Healing Hands" was directly inspired by this song. Its chorus starts with the line "And reach out / for her healing hands". Michael Bolton covered this song from his 1992 compilation album Timeless: The Classics. The song inspired the 2003 film I'll Be There featuring Charlotte Church. Michael McDonald also recorded a version for his album, Motown Two (2004), the follow-up to his album Motown (2003). His version reached #12 on Billboard's Adult Contemporary chart. Bill Cosby recorded a humorous interpretation of the song for his album Bill Cosby Sings Hooray for the Salvation Army Band!: I'll be there/But first I have to take out the trash/I'll be there/But then there's the potatoes have to be mashed! Boyz II Men covered this song during a live medley on UK reality talent show The X Factor in October 2007. Clare Teal also covered this song on her 2007 album Paradisi Carousel. Chris Farlowe recorded a cover of the song.

Meat Puppets were known to cover this song live in the early 1980s. The Human League did an instrumental version of this song which was released on a demo compact cassette. Serbian 1980s group, Oktobar 1864, covered this song in Serbian and had a hit with it. Efrat Gosh covered this song in 2007 alongside local Israeli group Red Band. Richie Kotzen covered this song from his 1994 studio album Mother Head's Family Reunion. R. Stevie Moore recorded this song as a medley with George Harrison's "My Sweet Lord" on his 2003 album Report Card. Use in other music Michael Jackson alludes to the song in The Jackson 5 song "I'll Be There", singing "just look over your shoulders, honey." Show more Install the free OnlineRadioBox app for your smartphone and listen to your favorite radio stations online - wherever you are!

The Four Tops: 'Reach Out I'll Be There' | Classic Tracks | Factory Records The team of Holland-Dozier-Holland, inducted into the Rock & Roll Hall of Fame in 1990, actually started out as three separate musical entities operating within the Detroit-based sphere of one Berry Gordy Jr. In fact, Gordy produced Eddie Holland's 1958 single, 'You', prior to forming Tamla Motown, and three years later Eddie scored a Top 30 US hit on that label with 'Jamie'. At the same time, Brian Holland was enjoying success as a Motown staff songwriter, co-composing the Marvelettes' 1961 single 'Please Mr Postman', which was the label's first chart-topper, and it was Brian's main songwriting partner, Robert Bateman, who suggested that Brian should team up with a young solo artist named Lamont Dozier.

Photo: RedfernsDozier had sung lead as part of the Voice Masters vocal group on 'Let's Talk It Over', a 1960 single released on the Anna Records label of Berry Gordy's sister, and he had also worked with Gordy on recordings by Motown's first signing, Marv Johnson, by the time Robert Bateman quit Detroit to seek fame and fortune in New York. That quest would prove to be fruitless, yet Dozier took his advice to team up with Brian Holland before also being encouraged to pursue this career path by Berry Gordy. "Brian and I wrote stuff for various Motown artists, and some of it started to get attention," Dozier recalls. "Then Berry told me 'Look, if you really want to be successful and make some money at this thing, the writing and producing aspect of it is the way to go.'" Again, Dozier heeded the advice, and soon the composing/production efforts of he and Brian Holland were supplemented by Eddie's lyrics and vocal arrangements. "Eddie didn't want to sing any more," Dozier explains. "He didn't like to be on stage, jumping around.

He preferred to be in the background, writing lyrics, so we brought him in and that's when things started to click." Indeed they did. As both a lyricist and melody man, Lamont Dozier would generate most of the initial song ideas, and after working on the music with Brian Holland he would also often come up with ideas for the lyrics and hand these to Eddie, who would finish them and then teach the vocal lines to the singers. They, too, would often also contribute their own ideas. "We had our own little factory within a factory," says Dozier, referring to the role that he and the Holland brothers played within the overall Motown setup. "In the early days, we all had to clock in and clock out, but eventually we learned our craft to the extent that that we didn't need to punch clocks any more. All of the guys working for Berry had a budget, and they had to come up with something out of that budget. You got your shot and you had to come up with something that sold. We called it 'Motown College'. He just let us do what we wanted to do. He trusted us. We were all talented people and he believed in us.

Being a songwriter himself, he knew that standing over somebody while they're working is just nerve-wracking and you're not going to get much done. He or she has to have some leeway, and he understood that." Quality Control Meanwhile, in-house there was plenty of healthy competition between the various songwriters and producers, such as Norman Whitfield, Barrett Strong, H-D-H, Smokey Robinson, Stevie Wonder and Marvin Gaye. Holland-Dozier-Holland (or, in this case, Lamont Dozier, Brian Holland and Eddie Holland) in the 1960s.Photo: Redferns"You might say there was friendly fire," remarks Dozier. "Everybody wanted to have the next release on an artist, and so they would work overtime to make sure they'd get it. Then again, we were also under constant pressure to come up with new material. Berry would say 'We need something for Marvin,' or 'We need something for the Supremes,' and so we were always thinking a little bit about the artists we worked with, although most of our efforts still went into being prolific and making sure that the songs had what it took to be hits.

If there was an infectious quality to the melodies and the hooks, they could be recorded by anybody. Most of those people could sing any one of those songs, and in a lot of cases they did sing each other's songs." Among the more notable examples of this are the hit recordings of 'I Heard It Through The Grapevine' by both Gladys Knight and Marvin Gaye, Tammi Terrell's cover version of the Isley Brothers' 'This Old Heart Of Mine', and Diana Ross's 1971 remake of 'Reach Out I'll Be There'. Berry Gordy was hardly complaining. Meanwhile, thanks to Motown's in-house disc mastering capability, he and his sidekicks could listen to reference acetates in his office, evaluate what they heard and suggest changes as part of the collaborative process. "We didn't have A&R meetings, we called them 'quality control meetings'," Dozier remarks, "and we actually used to get people off the street to come in and listen to the new material.

Eventually, through word of mouth, people got to know that on the first of the month or every couple of months we would have one of these listening parties, and so they would hang out in front of the Hitsville building and then we would bring them into the studio, give them Coca-Cola, potato chips and hot dogs, and play a bunch of stuff for them to rate. That was in the earlier stages. Later on we did away with that and had a nucleus of staff in the A&R department that was unmatched by any company in the world, but early on we did everything to try to be on the ball and keep up with what people wanted to hear. We were trying to give people things that would touch them emotionally, and we didn't think that because we were black we would only do this for the black population. We had all mixes, all races of people in there, because Motown embodied the notion that music is a language of its own and it crosses all barriers." On A Roll The strategy worked.

In 1964 and 1965, at the height of the so-called 'British Invasion' of the American music scene and pop charts, Motown enjoyed smash-hit success on both sides of the Atlantic with numerous artists on its roster. Chief among them were the Supremes, for whom Holland-Dozier-Holland created a string of five consecutive US number one singles. The first of these was 'Where Did Our Love Go', even though the song itself had originally been written for — and rejected by — the Marvelettes. Accordingly, before lead singer Gladys Horton refused to perform it, the backing track was cut in her key, which was considerably lower than that of the relatively shrill Diana Ross. For their part, the Supremes were less than happy when they discovered they were being handed a Marvelettes reject. True, they may not have had much success up until that point, but they did have their pride, and this manifested itself in the form of curse words being hurled at the hapless composer-producers. Photo: Redferns Hitsville, at 2648 West Grand Boulevard, Detroit, is where all of the early Motown hits were recorded.

The studio has been preserved as it was in the '60s and is open to the public as a museum. See for more details. "Diana was already feeling unhappy about doing the song because of the key, and a lot of things were said," Dozier confirms. "However, she came off sounding very sultry as a result of that key. I was trying to teach them intricate harmonies for the background, and I was getting nothing, so I suggested singing 'baby-baby' in a fairly quick tempo and the only way Diana could do it was to sing 'bay-beh, bay-beh' in that low and sultry way. All of a sudden that was her sound, whereas previously she had been up in the air. If, as usual, we had put it in the higher key that she was used to singing in, it wouldn't have come off the same way. Those kinds of moments in the studio you can't explain. Nobody plans them, they just happen, and in this case it was their blessing and started them on a string of hits.

"We became so good at what we were doing, and we were selling so many records and breaking so many artists that, in addition to having our assigned artists, we also started to release what we wanted to release. We were so prolific, Berry trusted us to the point where he would say 'What are you guys putting out on Diane now?' We'd tell him that we liked the song 'Stop! In The Name Of Love' and he'd say 'Yeah, I heard that. I like it, too. Great, you're gonna go with that?' We'd say 'Yeah,' and that was the conversation. We were on such a roll, it was amazing. We were astounded! I-remember having a conversation with Brian and saying 'Man, I don't know what this is, but I don't think this stuff is ever going to end. I get the feeling we've stumbled onto something here that's worldwide and lasting.' "Brian agreed. He said 'I get a weird feeling, man, like somebody has zapped us!' It was like 'You got the power.' I mean, how else can you explain it? Nobody knows what a hit is. You just do what you feel.

We had such a closeness together, and we all would just stop and look at each other when we hit this certain chord, and we'd go 'Yeah, that's it...' Bam! We'd all have that feeling, and where that comes from God only knows, because what you're doing is selling a feeling to get to people of all races from all over the world. They pick up on what you're feeling and they know where you're coming from. "Sometimes the songs wrote themselves, and at other times things weren't so easy. I remember 'Heatwave' for Martha & the Vandellas just came right away. It started out as a little theme that I used to warm up in the mornings when I arrived at the studio. I had the hook and then I decided to add to it, and that's how things could be. On the other hand, we cut the Four Tops' 'Without The One You Love' three times and it just didn't fit.

It took a long time to get the take that we wanted." The Same Old Song Whereas the Supremes were Holland-Dozier-Holland's main female vocal group, their male counterparts in this regard were the Four Tops, comprising Abdul 'Duke' Fakir, Renaldo 'Obie' Benson, Lawrence Payton and lead singer Levi Stubbs, whose baritone voice distinguished the Tops from most other contemporary groups that were fronted by a tenor. The irony was, he still had to perform songs that were purposely written in a tenor range so that his gospel-laced vocals would have a greater sense of urgency. Lamont Dozier today.Photo: Redferns"From an artistic standpoint, Levi Stubbs and Marvin Gaye were the best artists to work with," asserts Dozier. "When they came into the studio, we could give them a couple of beats and some direction as to what the song's feel and attitude should be, and they would get it right away, sometimes in one take, without even knowing what the song was about.

It's very unusual for people to be able to do that, but they were just so talented." Interestingly for such a notable pop vocal group, the Four Tops not only spent their early Motown years recording jazz standards, but their first chart hit evolved out of a song that Holland-Dozier-Holland initially created as a purely instrumental track. 'Baby I Need Your Loving' was subsequently embellished with lyrics, and after it reached number 11 on the Billboard Hot 100 in mid-1964 the Tops wisely left jazz behind. Nevertheless, once 'I Can't Help Myself (Sugar Pie, Honey Bunch)' had become their first chart-topper in April of the following year, H-D-H suddenly found themselves having to recycle their own work in order to meet demand and curtail some unwelcome competition from one of the group's former labels. "We got a call telling us that Columbia were releasing an old Four Tops album and trying to take advantage of the momentum they had recently gained," Dozier recalls. "'I Can't Help Myself' had fizzled out, and Columbia were just sitting back and waiting to jump into that space, because they figured that we didn't have anything else, and we didn't.

So, we had to rush the band into the studio, and I came up with 'It's The Same Old Song', which was similar to 'I Can't Help Myself'. I found a way of turning the bass figure around, but basically the chords were all very similar — it really was the same old song. So, I added a few chords on top of the high part just to give it some new nuances, and after that we had it out on the street in five days and we squashed the Columbia record." I Hear A Symphony A purpose had been served, yet as straightforward pop began giving way to studio experimentation during the mid-'60s, much of Motown's output also became more sophisticated, and this was clearly evident in what would turn out to be the Four Tops' signature song and biggest hit. 'Reach Out I'll Be There', released in August 1966, featured Levi Stubbs belting out the lead vocal to a melody that kept shifting between minor and major, as well as major and augmented chords, to create contrasting tones that underpinned one of the most famous of all Motown song hooks. "Up until then, most of the songs basically had three chords," says Dozier.

"They were very simple and, in a sense, very rock & roll, but I think the experiment of putting classical and gospel together reached full force on 'Reach Out I'll Be There'. I mean, so many people have tried to define the 'Motown Sound', and if it's anything, it's gospel and classical merging together. I was raised on that music, it's all we ever heard in our house. My grandmother wouldn't allow anything else — unless it was Tony Bennett or Nat 'King' Cole or Frank Sinatra — and so I had this stuff ingrained in me. At the same time, being indoctrinated into the gospel way of thinking, I wound up being a lead singer at church. A good friend of mine, Aretha Franklin, was there, and a lot of influences were around. So, the 'Motown Sound' definitely had those elements in it, and if you listen to the chords of 'Reach Out I'll Be There' there are very intricate patterns. The 'Snake Pit', aka Motown Studio A, is almost exactly as it was during Motown's heyday.

The XLR leads hanging from the ceiling were put in place to avoid having cables trailing over the floor during a crowded session — and given the size of the studio, all of the sessions were crowded. Photo: Redferns"To my knowledge, those structures had never been explored before, and on that song we were reaching out for different sounds and approaches. To start with, there was the Russian-type intro — it was almost gypsy-like, mixed in with a little Russian theme, summoning up images of the Cossacks. It was Brian who was responsible for that. He came into the office one day and was kind of searching around on the piano until he came up with this little melody. He kept playing it over and over and over, but he couldn't find any other place to go with it. "Then something came over me, so I sat next to him — as we'd often do — at the piano and I just went into left field with a totally different feel, a gospel feel: 'Now if you feel that you can't go on...' A real hallelujah jump-and-shout type of thing. The two different parts seemed to match, creating an excitement and a collaboration of sounds and feelings that we'd never heard before.

When one of us appeared to exhaust what we were feeling, the other would take over and improvise until the whole thing was completed. The chorus featured a little bit of both of us, changing chords and adding progressions, and in the end the song came together and really wrote itself in a lot of respects. Brian and I were like two scientists in a laboratory, mixing different concoctions to see what fitted and what sounded best, and it was just unusual that everything fell into place like that. "Usually, I would have an idea for the lyrics, or a title, and I would give that to Eddie to continue, but in this case there was nothing, and so he and I fooled around together on the words. I gave him little pieces, he came up with the title, and when the song was completed Eddie then sang it to Levi Stubbs to give him direction in terms of the feeling and the performance. Originally, Brian and I had just been searching for a new song and didn't have a particular artist in mind, but once it reached a certain point we knew it was for Levi. And so, after I arranged the background vocals, I'd give him some of the nuances and then he would take it from there.

He, Marvin Gaye and Diana Ross were just phenomenal in that way." The 'just look over your shoulder' comment on 'Reach Out' was one of Stubbs's improvisations, after the backing track had already been recorded in preparation for overdubbing the vocals. To that end, various members of the Funk Brothers rhythm section listened as Dozier previewed the song on the studio piano, and they in turn picked up fairly quickly on what they each and collectively had to play. "There was no guide vocal," Dozier says. "We would do that for the singer once the track was cut, but for the band members we would just sing the melody and the song's other nuances to them right there on the studio floor, giving them little bass lines and little drum licks to demonstrate what the feel should be. It was strictly what we called a head arrangement, and that's how Brian and I would split the workload. He would show the drummer, Benny Benjamin, different lines, and I would show James Jamerson his bass lines, and that was very much the way we worked on 'Reach Out'. It was one of those songs where we split the job, and it worked.

Nothing was ever really planned — it was sort of on-the-spot producing, wheeling the artists in and out while we were trying to be prolific as possible, and that kept us up a lot of nights." Reflections The artistic incentives were great and so were the musical rewards. However, by 1967 Holland-Dozier-Holland no longer felt like making the effort in return for a minuscule slice of the monetary pie — low statutory rates and none of the publishing — while the company they had helped build became richer and richer. The result was that they quit Motown and, in 1968, formed their own Invictus and Hot Wax records labels, enjoying success with the likes of Freda Payne and the Chairmen of the Board while engaging in ongoing litigation with Berry Gordy. "You need to get compensated for work that can destroy your mind and body and drag you down into the depths of depression," says Dozier, who parted ways with the Holland brothers in 1973 to pursue a solo career as a singer, songwriter and producer while Brian and Eddie continued with their own company. "It just isn't fair to not get what you worked for, what you made yourself sick for in a lot of cases.

I mean, you put your life, your being and whatever you're about on the line, and then somebody says, 'OK, two for you, five for me, three for you, 15 for me.'" Now back together as owners of HDH Records, which issues new material in addition to recordings from the Invictus and Hot Wax catalogues, Brian Holland, Lamont Dozier and Eddie Holland are also collaborating again as composers, working on a Broadway-bound musical version of the 1996 hit movie The First Wives Club, comprising all-original music and 22 new songs. "It's weird," says Dozier. "We get into a room and shut the door, and it starts all over like we never skipped a beat. We've always had our own ideas about how to approach being creative and how to open up our minds to the muses, so to speak. We have our own feeling and I really think that can be sustained for a lifetime. It's a frame of mind and creativity never dies. It just depends on the individuals, and in our case it's about believing that we can do it and that we have what it takes to come up with a hit song.

We always believed that we had something special together, and I think the new songs are fabulous." The Four Tops - Reach Out I'll Be There - YouTube The Four Tops - Reach Out I'll Be There Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Jul 21, 2014 Category reach out i ll be there : definition of reach out i ll be there and synonyms of reach out i ll be there (English) " Standing in the Shadows of Love " (1966) "Reach Out I'll Be There" (also formatted as "Reach Out (I'll Be There)") is a 1966 hit song recorded by the Four Tops for the Motown label. Written and produced by Motown's main production team Holland–Dozier–Holland , [1] the song is one of the most well-known Motown tunes of the 1960s and is today considered The Tops' signature song.

It was the number one song on the R&B charts for two weeks, [2] and on the Billboard Hot 100 for two weeks, from September 24, 1966 to October 15. It replaced "Cherish" by The Association , and was itself replaced by "96 Tears" by Question Mark & the Mysterians . Rolling Stone later ranked this version #206 on their list of The 500 Greatest Songs of All Time . This version is also currently ranked as the 45th best song of all time, as well as the #3 song of 1966 , in an aggregation of critics' lists at acclaimedmusic.net. [3] The track also reached #1 in the UK Singles Chart , becoming Motown's second UK chart-topper after The Supremes hit #1 with " Baby Love " in late 1964. [4] Lead singer Levi Stubbs delivers many of the lines in the song in a tone that straddles the line between singing and shouting, [1] like he did in 1965's " I Can't Help Myself (Sugar Pie Honey Bunch) ".

This song differs markedly from the Four Tops' earlier efforts, due to the highly-contrasting shifts between minor and major, and also major and augmented chords. These contrasting tonal shades form the hook for which the song is so well known. The Four Tops would rely on this formula for several subsequent releases. The song is featured prominently in the final scene and the closing credits of the 1975 motion picture Cooley High , a coming-of-age film starring Glynn Turman and Lawrence Hilton-Jacobs . PWL remixed the song in 1988. The remix was done by Phil Harding & Ian Curnow. The 12" Remix runs 6:05 and the Radio Edit runs 3:10. Contents Covers Luis Miguel recorded the song in spanish under the title "Es mejor" for his 1987 album Soy Como Quiero Ser . Only weeks after the original release, Jamaican soul singer Derrick Harriott recorded and released a version of this pop soul hit on his own Crystal label in Kingston, Jamaica (reissued on Gaz Mayall's Top Ska Tunes, Trojan 2004). Petula Clark recorded a version for her 1967 album Colour My World .

The Tremeloes included a version on their 1968 album, "Suddenly You Love Me." Gene Pierson released a version in 1970 (Single, Festival) Merrilee Rush recorded a psychedelic version of the song in 1968. Titled simply "Reach Out", the single on the AGP label only made it to #79 on Billboard's Hot 100 in December, 1968. There were three Italian language versions, made by local artists Peppino Di Capri and Rita Pavone , and - most of all - by the same Four Tops, with the title Gira gira ( Turn around, turn around). British singer Jackie Trent hit the UK singles chart with her cover version, entitled I'll Be There, in April 1969. The song peaked at #38, spending four weeks in the UK Top 50. [5] Diana Ross scored a Top 40 remake of the Four Tops' classic taking it to number twenty-nine on the Hot 100 in 1971. It was the second release from Ross' third solo album, Surrender , in just a year.

Ross' version was produced by Nickolas Ashford & Valerie Simpson , and was built around the same thematic basis that made Ross' 1970 remake of Marvin Gaye & Tammi Terrell 's " Ain't No Mountain High Enough " a success. Famed drummer / producer / singer Narada Michael Walden performed a version of the tune on his 1983 album Looking at You, Looking at Me , and it became a moderate R&B hit. Punk rock band Snuff released a version of the song on their covers album Flibbidydibbidydob . Elton John 's 1989 single " Healing Hands " was directly inspired by this song. Its chorus starts with the line "And reach out / for her healing hands". Donnie Iris recorded the song for the 1989 compilation album WDVE Pittsburgh Rock 'n Roll '89]]. The song inspired the 2003 film I'll Be There featuring Charlotte Church . Michael McDonald also recorded a version for his album, Motown Two (2004), the follow-up to his album Motown (2003). His version reached #12 on Billboard's Adult Contemporary chart .

Bill Cosby recorded a humorous interpretation of the song for his album Bill Cosby Sings Hooray for the Salvation Army Band! : I'll be there/But first I have to take out the trash/I'll be there/But then there's the potatoes have to be mashed! Boyz II Men covered this song during a live medley on UK reality talent show The X Factor in October 2007. Reach Out I'll Be There by The Four Tops Songfacts Songfacts The Four Tops recorded this in just two takes, and had practically forgotten about the song until it was released, assuming it was a "throwaway" album track. Motown boss Berry Gordy had other ideas and released it as a single. Gordy had a knack for identifying hit songs, and got this one right. The Motown songwriting team of Eddie Holland, Lamont Dozier and Brian Holland (Holland/Dozier/Holland) wrote this. They told lead singer Levi Stubbs to sing like Bob Dylan on " Like a Rolling Stone ," which explains the urgency in his lyrics. Phil Spector once described this as "Black Dylan." This was one of many hits the Holland-Dozier-Holland team wrote for The Four Tops.

Some of these songs sounded remarkably similar, but the Motown writers didn't have time to start from scratch with every song, since they were expected to crank out lots of songs in a hurry. H-D-H averaged two or three songs a day and literally had to clock in to work. Lamont Dozier said in a 1984 interview with NME: "If we didn't complete them at least we would start them. We would have parts of the songs, like hooks, or maybe parts of verse, so that at the end of the day we would have something accomplished. I guess that was primarily the reason for the success we had in such a short time. We were there eight or nine years and out of those years we racked up some 50 or 60 Top 20 records, 66 Top Ten... something like that." The line, "happiness is just an illusion" appeared in another Motown song that was on the charts at the same time: " What Becomes of the Brokenhearted " by Jimmy Ruffin. That one also rhymed "illusion" with "confusion." Telma Hopkins and Joyce Vincent sang backup.

They later went on to form the successful vocal trio Dawn along with Tony Orlando. Diana Ross recorded this for her 1971 album Surrender, taking the song to #29 in the US. Her version, which was produced by Ashford & Simpson, is drastically different from the Four Tops original. Ross sang it in a similar style to her 1970 hit, " Ain't No Mountain High Enough ." >> Suggestion credit: Brad - Berea, OH This song has an interesting chart history in the UK: The original hit #1 in 1966, Gloria Gaynor took a disco version to #14 in 1975, a remix of the Four Tops version by the production team Stock, Aitken & Waterman went to #11 in 1988, and Michael Bolton's version hit #37 in 1993.

The Four Tops The Four Tops (top) Abdul (Duke) Fakir, Lawrence Payton, (bottom) Levi Stubbs, Renaldo (Obie) Benson One of Motown's most consistent hitmakers and its longest lived lineup (40 years), the Four Tops were the most stable and consistent vocal groups to emerge from Motown Records in the '60s, charting with scores of upbeat love songs featuring Levi Stubbs' rough hewn lead vocals. The Four Tops were products of Detroit's North End. Levi Stubbs and Abdul "Duke" Fakir sang together in a group while attending Pershing High School. Renaldo "Obie" Benson and Lawrence Payton were boyhood friends and attended Northern High together in Detroit who. It was while singing at a friends birthday party in 1954 they found they were good at it. They began practicing the next day and soon began calling themselves the Four Aims. Roquel "Billy" Davis who was Larry Payton's cousin, sometimes sang with the group as the fifth Aim and was later to be Berry Gordy's songwriting partner sent a demo tape to Chess Records in Chicago. They were sent a bus ticket and invited to Chicago to audition.

It seems that Chess was more interested in Davis' writing skill than the group. However Davis' persistence ended up with their being signed to Chess Records in 1956. They then changed their name to the Four Tops to avoid confusion with the Ames Brothers. They only recorded one single with Chess "Kiss Me Baby' which flopped. They then went to Red Top and Riverside before they were signed by John Hammond to Columbia in 1960 where they recorded "Ain't That Love." This was the first of a string of supper club style flops that lasted for seven years on a number of labels. All the while, they were performing in top clubs. The Four Tops toured with the Billy Eckstine revue in the early '60s. By 1964, they had signed with old friend Berry Gordy's Motown Records. Gordy had them record "Breaking Through" for his experimental Workshop Jazz subsidiary. Later that year they were finally directed toward contemporary soul. Under the wing of Motown's top production and recording team, Holland-Dozier-Holland, the Four Tops were launched with "Baby I Need Your Loving," which went to #11 in 1964.

Over the next eight years The Four Tops appeared on the charts almost thirty times, and Levi Stubbs became an international star and became an influence on singers from the Sixties to the present time. The Four Top's 1965 hits included "Ask the Lonely" (#24), "Same Old Song" (#5), and "I Can't Help Myself" (#1). "Reach Out and I'll Be There" hit #1 in October, 1966, followed by "Standing in the Shadows of Love" (#6) in 1967. Like other Motown acts, the Four Tops became popular in major nightclubs around the world. Like virtually all of Motown's top acts, The Four Tops sought longevity and stability of a career built equally on live appearances and records. In 1967 they had hits with "Bernadette" (#4) and "Seven Rooms of Gloom" (#14); but when Holland-Dozier-Holland left in 1967, their charting hits declined.

In fact two of their bigger charting hits of 1968 were covers: the Left Banke's "Walk Away Renee" (#14) and Tim Hardin's "If I Were a Carpenter" (#20). However, the Tops did record a number of adventurous and successful records with other Motown producers, including "River Deep, Mountain High," with the Jean Terrell led Supremes (#14 pop, #7 R&B, 1970) and "Still Water" (#11 pop, #4 R&B, 1970. In addition Obie Benson cowrote Marvin Gaye's "What's Going On." In 1972, the Four Tops moved to ABC/Dunhill records where they recorded a couple of million sellers "Keeper of the Castle (#10) and in 1973 "There Ain't No Woman" (#4). It was only a brief pop chart resurgence, but the Tops continued to have Top 20 R&B hits. In 1981 they moved to Casablanca Records and had a hit with "When She Was My Girl" (#11 pop, #1 R&B).

Two years later they were back at Motown and after performing in a "battle of bands" with the Temptations on the Motown 25th anniversary television special, they began the first of several coheadlining tours with the Temptations, billed as T 'n' T. The first tour ran nearly three years, went around the world, and include sold out stint on Broadway. In 1986 Stubbs provided the voice for the man-eating plant in the film Little Shop of Horrors. In 1985 the Tops had its last Motown hit "Sexy Ways" (#21 R&B). In 1988 they signed with Arista and recorded "Indestructible" (#35 pop, #66 R&B). In 1989 the Four Tops appeared on Arethea Franklin's Through the Storm, and in 1990 Steve Wonder inducted them into the Rock and Roll Hall of Fame.

Question: Which group had a number one hit in 1966 with Reach Out I'll Be There?
Answer: FOUR TOPS